For me, personally, I will always do G-rated films, which the world needs more of.
— John Lasseter
I love working for a company full of geeks.
I'm a big fan of pantomime storytelling, being an animator.
I have motor oil running through my veins.
Every Pixar movie at one time was the worst motion picture ever made.
I would get so into playing as a kid that I'd lose track of time.
I try to make pictures I would want to see.
In computer animation, every detail has to be thought out, designed, modeled, shaded, placed and lit. The more you add, the more computer memory you need.
People who get into animation tend to be kids. We don't have to grow up. But also, animators are great observers, and there's this childlike wonder and interest in the world, the observation of little things that happen in life.
'Bolt' was made by Walt Disney Animation Studios, not by Pixar.
I love bringing the inanimate object to life.
Today, among little girls especially, princesses and the romanticised ideal they represent - finding the man of your dreams - have a limited shelf life.
Take any movie with an actor you like. Turn your head and just listen to the performance. In some cases, the physical presence remains as strong when you can't see the actor, when it's just the voice.
You know, going to the movies has always been recession-proof. It's fairly cheap entertainment; it's classic escapism.
Pixar is not about computers, it's about people.
The way the films look will never entertain an audience alone. It has to be in the service of a good story with great characters.
At Pixar, we do sequels only when we come up with a great idea, and we always strive to be different than the original.
Pixar's short films convinced Disney that if the company could produce memorable characters within five minutes, then the confidence was there in creating a feature film with those abilities in story and character development.
Nobody pays attention to the way a person's shirt folds around his shoulder when they sit down, but if that shirt folded in an unusual way, you'd notice it.
'Cars 2' is about a character learning to be himself. There's times in our lives where people always say, 'Well, you've gotta act differently. You should always be yourself.' That's the emotional core of the story.
Every technology that comes into filmmaking is first a gimmick. Think about sound with 'The Jazz Singer' or the first colour or surround sound - it takes a while for filmmakers to understand how to use it.
A good part of my leadership skills is crafted from learning from experiences early in my career that were not positive experiences.
My father pulled into Pearl Harbor four days after the bombing, and he said, everything was still burning. He said they never told the public how bad it was. It was really bad.
If you think something's stupid, it probably is.
Car love is the sound of a throaty V-8 rumbling and revving, the acceleration throwing you back in the seat - especially when you get on a beautiful, winding road and the light's dappling through the trees.
In an animated film you can do whatever you want, but that doesn't mean you should do everything you want.
I was mentored by great Disney animators at the end of their careers.
I'm a car nut. My father was a parts manager at a Chevrolet dealership.
I always laugh at these companies that have these rules saying, 'You're only allowed to have this or that on your desk.' It's no fun to work at a place like that.
I am so proud that 'Up' is Pixar's 10th film. I think it's the funniest film that we've ever made and also one of the most beautiful.
I laugh very hard at work every day.
When you take something that's inert, and through motion, give it life, make it appear to be alive, living, breathing thinking and having emotions, that's animation. But when you take something that's live-action, and move a part of it, that's a special effect.
I loved animation and cartoons, even when it was not cool when you were in high school. I raced home to see the Bugs Bunny cartoons.
At Pixar, good ideas may be cut from a film, but they are never forgotten.
When I started work with LucasArts Computer Division back in 1984, I went to the Palace of Fine Arts and saw the Festival of Animation for the first time. I loved the diverse collection of animated films the festival held.
I never quite understood why Disney hadn't made a sincere fairy tale since 'Beauty and the Beast.'
I love Japan. I love the collision of the modern and ancient worlds coming together in that place. It's so high-tech and cool.
I've often heard people say that managing creative people is the hardest thing in the world. 'They're never happy, they drive up the cost of things, blah blah blah.' I just manage people the way I always wanted to be managed. That is, to be creatively challenged, but never to be told what to do.
I don't really think of myself as a businessman at all. That's why I have the 'chief creative officer' role.
The only thing Steve Jobs has ever asked me in all the years we've been together and have been partners, the only thing he has ever asked me is: 'Make it great.'
Of all studios that should be doing 2-D animation, it should be Disney.
I'm a big Disneyland nut.
At Pixar, 'Wall-E' was our ninth film, and they've all been successes - more than that, they've all really touched people. Everybody wonders, 'How do you do it?' Well, how do you not do it? You just work hard.
I'm really proud of 'Cars.' 'Cars,' when it first came out, got probably the most mediocre reviews of a Pixar film.
I love the Sonoma wine community. It's like Pixar - nothing competitive, only supportive. They're always rooting for you.
People want to be creatively satisfied, and having fun is such an important part of that.
Winnie the Pooh and his friends from the Hundred Acre Wood are among the most entertaining and beloved characters ever animated by Disney.
Of all bugs, growing up I just loved the pill bugs. They roll up, you play with them, you wait for them to open up, and then when you touch them they roll up again. I just love that.
I don't believe that an animation studio should be an executive-driven studio.
'Cars' is simply near and dear to my heart.
